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On Scaring Children
[box type="note"]Hello from Julie! I am so excited to share a guest post today from Kali Wallace, a fellow 2016 debut author, whose YA horror novel, SHALLOW GRAVES, will be published by Katherine Tegen Books/HarperCollins in January 2016. I was so fascinated by everything Kali had to say about writing YA horror, I asked her to share her insights with all of us here at PubCrawl. I'm so happy she said yes! So here's Kali, with everything you want to know about writing horror![/box]
The funny thing about writing a horror novel is that approximately 87% of the people you meet will tell you to your face they don't want to read it.
Oh, there's rarely anything malicious in this declaration. Sure, there are always a few "I only read serious books about serious topics" types with tiny minds who can't fathom how a book about horror things can also be about other things, but nobody cares what they think. I ignore them.
For the most part the reaction from future non-readers is more along the lines of, "Oh, I don't know if I could read that. It sounds--" And this added in an apologetic, almost conspiratorial tone, as though imparting a terrible secret from which I could have been protected, had circumstances differed: "--too upsetting."
I fell into writing horror backwards, much the same way the unwary first-act hanger-on in a horror movie falls backwards into a vat of mysterious glugging liquid the remaining cast will assure themselves is simply oddly chunky water until the third act. I don't really think of myself as a horror writer, because I write all kinds of other things too, some (a few) of which are not (very) horrifying at all (mostly). But I did write a horror novel.
It happened like this. One time I went to a garage sale and found ninety-nine Stephen King paperbacks on sale for a penny each, so I borrowed a crinkled dollar bill from my mom, took the books home, and retreated to a dark corner of my bedroom where I spent three weeks constructing a paper nest using only the shredded pages of Misery and my own spittle, and I lived there for five years, eating nothing but peanut butter sandwiches and anxiety. When I emerged I could never write anything again without ominous symbolic settings and existential dread and rotting corpses.
Or maybe it happened like this. When I wrote my first novel, I didn't sit down at my computer and think, "I want to scare somebody's pants off today!" I sat down and I thought:
wouldn't it be funny if monsters were teenagers
i mean like really angsty teenagers the kind who feel bad a lot
and they're gross monsters not sexy monsters nobody likes them
everybody has feelings
One of those anecdotes is the 100% true story of how I accidentally wrote a YA horror novel.
There are a thousand different kinds of horror stories, but the kind I wrote is a contemporary teen fantasy story covered with blood. It's all monsters and dark magic and dark evil monster magic and teenagers encountering and/or using dark evil monster magic. It's full of death and pain and terrible things happening. Claws, too. There are claws. Did I mention the blood? It is a bit scary in places--at least, I hope it is. It would be disappointing if I deployed that many carefully chosen adjectives and it didn't give people at least a bit of a spine-tingle.
It isn't too upsetting as an accidental by-product, the unintended consequence of a writer meddling with forces she cannot control. Being upsetting is, in fact, the entire point. I wrote it that way on purpose. I have my reasons, and it's not entirely because I am a ravenous creature of shadow and darkness who survives by consuming the nightmares of my young readers. Not entirely.
There's an oft-misquoted-but-rarely-quoted-correctly passage about fairy tales from English writer G.K. Chesterton (from Tremendous Trifles, 1909):
"Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon."
We know this to be true, no matter how many misguided parents and school boards try to deny it: Children and teenagers don't need books to tell them that there is evil in the world. They know that before they crack open any book. Children and teenagers don't need books to tell them the world is scary and unfair and that bad things happen all the time. They already know all of this. There are adults in their lives who wish them harm. Kids know this. There are monsters who wear friendly faces and are enabled by the people and institutions who ought to be protecting the helpless instead. They know.
Children and teenagers aren't separate from the world. They are part of the world, right in the middle of it, right in the middle of all the violence and unfairness and cruelty it has to offer. For young readers, just like adult readers, stories can be both an escape from the world and a way of connecting to and understanding the world, both a shield and a lens, often at the same time.
That's no small thing. It is the exact opposite of a small thing. It is the entire reason literature exists, and it isn't less true or less important because the intended audience is under eighteen. I would even argue--if anybody ever wanted to argue with me about this, which nobody does--that it is even more true and more important for children's and young adult literature. You never know who is going to pick up your stories and find something that resonates, and you never know what it will mean to them, and you never know if that reader on that particular day will need the escape or the understanding or both.
Okay, let's be honest: It's usually both.
I can't write stories so steeped in the grit and struggle of realism they are indistinguishable from real life. I also can't write stories that imagine life to be fantasies of summer kisses and bosom friendships. Those are all perfectly wonderful types of stories, and I love to read them and am thankful they exist in the world, but they are stories for other people to write.
Me, well, I can do ominous thunderstorms and branches scraping on dark windows. I can do the metallic taste of fear at the back of the throat. I can do people who aren't really people and monsters who aren't really monsters. I'm really good at describing spooky graveyards. In fact that's my #1 life skill, ranked even higher than my formidable talent at making up silly nicknames for cats: describing spooky graveyards.
Blood and guts, monsters and magic, murderers under the floorboards and ghosts in the walls, shocking scares and sleepless nights--the trappings of horror are what makes it vivid, visceral, and oh so very fun, but it is, after all, spectacle. It's stage-setting strung up around what really matters: a story about life and death. A story that offers a spark of life in a world where life is unwelcome and makes you think, "Oh. Oh. Everything is terrible. There is no hope. What now? What the hell do we even do now?"
Horror stories, when done well, aren't powerful because life is cheap, but because life is precious. And because life is precious, we get carried right along when characters faced with monsters and mayhem have to fight for it, for themselves and their families and maybe people they've never met, against horrors and nightmares and impossible odds, as they feel fear and despair and hope and anger and grief and every human emotion in between. The fantasy is in the details, but the realism is in the emotion, and it's the emotional realism that leaves a mark long after the story is over.
Stories are how we make sense of the world, and the world is terrible and wonderful, frightening and hopeful, beautiful and ugly, and it is, alas, full of monsters. Lucky for us, it's also full of people who know, or want to believe, even if they aren't quite convinced, that monsters can be faced and fought and sometimes, maybe, maybe, they can also be defeated.
Kali, thank you so much for being our guest here today on PubCrawl! Readers, now it's your turn--do you like to read horror? Do you like to write scary stories? Please share your thoughts in the comments!
For most of her life KALI WALLACE was going to be a scientist when she grew up. She studied geology in college, partly because she could get course credit for hiking and camping, and eventually earned a PhD in geophysics. Only after she had her shiny new doctorate in hand did she admit that she loved inventing imaginary worlds as much as she liked exploring the real one. Her short fiction has appeared in Clarkesworld, F&SF, Asimov's, Lightspeed, and Tor.com. She was born in Colorado and spent most of her life there, but now lives in southern California. Shallow Graves, her first novel, will be published by Katherine Tegen Books/HarperCollins in January 2016.